@article{ART003351092},
author={Jun-Young Song and Chison Kang},
title={The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2026},
number={59},
pages={189-213}
TY - JOUR
AU - Jun-Young Song
AU - Chison Kang
TI - The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars
JO - Journal of History of Modern Art
PY - 2026
VL - null
IS - 59
PB - 현대미술사학회
SP - 189
EP - 213
SN - 1598-7728
AB - This paper examines the position of the Jeju Biennale within the geopolitics of Global South biennales with the concept of the “South of the South,” focusing on the fourth Jeju Biennale, “The Drift of Apagi: The Way of Water, Wind, and Stars” (2024). While biennales in Istanbul, Havana, and Gwangju have emerged as counter-hegemonic alternatives to Western models, their rise has created new centers that marginalize alternative regions. To address these internal asymmetries, this paper adopts the insights of “Southern Theory” while noting its limitations in capturing the South’s internal heterogeneities and regional hierarchies. Consequently, it proposes the “South of the South,” a conceptual geography that disrupts established Southern centers and signifies a re-marginalized position. The fourth Jeju Biennale appropriates and reinterprets the historical records of Apagi a prince of the Tamna kingdom, and the maritime network of the Kuroshio Current to foreground regional commonalities and differences. The exhibition conceptualizes Jeju as an “assemblage of routes” and articulates this framework with three axes: material circulation, rituality, and the reconfiguration of state violence and memory. Consequently, by illuminating Jeju as a “multilayered periphery” based on its historical experiences and maritime sensibilities, the fourth Jeju Biennale holds significance in rethinking the very geopolitics of the biennale itself.
KW - Southern Theory;Global South;the South of the South;Jeju Biennale;Jeju Island;archipelagic imagination;drifting
DO -
UR -
ER -
Jun-Young Song and Chison Kang. (2026). The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars. Journal of History of Modern Art, 59, 189-213.
Jun-Young Song and Chison Kang. 2026, "The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars", Journal of History of Modern Art, no.59, pp.189-213.
Jun-Young Song, Chison Kang "The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars" Journal of History of Modern Art 59 pp.189-213 (2026) : 189.
Jun-Young Song, Chison Kang. The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars. 2026; 59 : 189-213.
Jun-Young Song and Chison Kang. "The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars" Journal of History of Modern Art no.59(2026) : 189-213.
Jun-Young Song; Chison Kang. The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars. Journal of History of Modern Art, 59, 189-213.
Jun-Young Song; Chison Kang. The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars. Journal of History of Modern Art. 2026; 59 189-213.
Jun-Young Song, Chison Kang. The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars. 2026; 59 : 189-213.
Jun-Young Song and Chison Kang. "The Geopolitics of Biennials and the ‘South of the South’: The 4th Jeju Biennale, The Drift of Apagi: The Way of Water, Wind, and Stars" Journal of History of Modern Art no.59(2026) : 189-213.
